The Smithsonian American Art Museum Presents 21st CENTURY CONSORT November 5, 2011 Nan Tucker McEvoy Auditorium, Smithsonian American Art Museum The Smithsonian American Art Museum The Smithsonian American Art Museum presents presents

21st Century Consort Pre-Concert Discussion Christopher Kendall with David Froom and Jo Ann Gillula Christopher Kendall, Artistic Director Boyd Sarratt, Manager Program Elisabeth Adkins, Violin “The Great American…” Paul Cigan, Clarinet Lisa Emenheiser, Piano Songs America Loves to Sing John Harbison Abigail Evans, Viola Solo: Amazing Grace Aaron Goldman, Flute Canon: Careless Love Sue Heineman, Bassoon Solo: Will the Circle be Unbroken? Jane Stewart, Violin Canon: Aura Lee Nick Stovall, Oboe Solo: What a Friend We Have in Jesus Canon: St. Louis Blues Olivia Vote, Mezzo-Soprano Solo: Poor Butterfly Rachel Young, Cello Canon: We Shall Overcome Solo: Ain’t Goin’ to Study War No More Mark Huffman, Recording Engineer Canon: Anniversary Song Kevin McGee, Stage Manager Ms. Adkins, Mr. Cigan, Ms. Emenheiser, Mr. Goldman, Ms. Young

Saturday, November 5, 2011 Emerson Songs David Froom Pre-Concert Discussion 4:00 p.m. Cloud upon cloud The Snow-Storm Concert 5:00 p.m. I cannot find Nan Tucker McEvoy Auditorium Ms. Adkins, Mr. Cigan, Ms. Emenheiser, Ms. Evans, Mr. Goldman, Ms. Heineman, Smithsonian American Art Museum Mr. Kendall, Mr. Stovall, Ms. Vote, Ms. Young

❖ ❖ ❖ INTERMISSION

The 21st Century Consort’s 2011–2012 Season is sponsored by The Smithsonian American Art Museum and funded in part by generous grants from the Cafritz Foundation and the Copland Foundation, and contributions from the Board and Friends of the 21st Century Consort. A Whitman Sampler Or Like a….an Engine Joan Tower Program Notes and Texts Love Song of a Waterfall Slim Whitman Artistic Director’s Note: My Western Home arr. William Brehm The Smithsonian American Art Museum’s current, extraordinary exhi- Wild Wild West Richard Markowitz, arr. David Froom bition, “The Great American Hall of Wonders,” has been the inspiration This Land is Your Land arr. William Brehm for the Consort’s fall concerts. If you haven’t had a chance already, we Ms. Emenheiser, Ms. Vote urge you to visit it. In this evening’s program, we’ve populated the first half with works that evoke the period, 1) in what Jon Harbison calls his Clocks Miguel Del Aguila “distant, quaint vision,” but one very much alive in our imagination Ms. Adkins, Ms. Emenheiser, Ms. Evans, Ms. Stewart, Ms. Young and a living force in our work and world, and 2) David Froom’s beauti- ful setting of one of the American poets whose work captures the zeit- ❖ ❖ ❖ geist of the exhibition’s era. In designing the program’s second half, we embarked on a quest to find a collection of works that parallels the six The audience is invited to join the artists in the lobby for an characteristic items favored by the artists and inventors in the exhibi- informal post-concert reception, sponsored by the tion (representing nature: the giant redwood, Niagara Falls and the buf- Board and Friends of the 21st Century Consort. falo; representing industrialization: the railroad, clock and gun). This turned out to be harder than anticipated. Nevertheless I look forward to experiencing the crazy-quilt of things that have emerged. Song set- tings particular to the program by the other iconic poet of the period, The Consort wishes to dedicate this concert to a wonderful Whitman, were hard to come by, but we dedicate this sampler never- friend and colleague of three decades, Curt Wittig. Our recording theless to a Whitman of a different stripe (Slim, no relation to Walt) engineer through innumerable projects, thoroughly an artist in whose vivid and inimitable performance could only be rendered here his own right, Curt passed away this past summer, leaving behind in its original form. Other pieces, including Bill Brehm’s marvelous him a vast legacy of recordings and documented performance. arrangements (slightly and slyly altered to evoke the exhibition and Perhaps his magnum opus, among the work he did with so many Walt himself), at least touch the six items of nature and the machine, kinds of music and performers, is the archive of 21st Century bracketed by Joan Tower’s powerful evocation of “engine” (which we Consort concerts of over 35 years. Still being brought up to date are happy to consider specifically a railroad steam engine) and Miguel on the Consort website, his magical work can be found at Del Aguila’s ingenious evocation of clocks. www.21stcenturyconsort.com/index.php/archive. We will miss – Christopher Kendall Curt more than we can say, but will be forever grateful for his friendship and great work. Songs America Loves to Sing John Harbison Since receiving the 1986 Pulitzer Prize, John Harbison has become a dis- tinguished figure in American composition. The recipient of numerous awards and honors (including the prestigious MacArthur Foundation’s “genius” award), Harbison has composed music for most of America’s premiere musical institutions, including the Metropolitan Opera (The Great Gatsby, 1999), the Chicago Symphony, Boston Symphony, New York Philharmonic, and the Chamber Music Society of Lincoln Center. Harbison grew up in a musical family. His father, a professor of Canon: Aura Lee history at Princeton, was also formally trained in composition and The piano ostinato is an abstract wall- wrote music in both serious and pop styles. Already as a child John ab- paper of the tune which is presented sorbed a wide repertory of musical styles, and he began improvising at at various speeds by the others. In the the piano before he could even read music. He studied both violin and ‘50s a famous entertainer produced a piano, composed actively, and pursued jazz obsessively. By the time he hit record of a song that very much was fifteen he had won a national competition with a work for trumpet resembles “Aura Lee.” and piano. Mr. Harbison has been composer-in-residence with the Pittsburgh Solo: What a Friend We Have in Jesus Symphony, the Los Angeles Philharmonic, the American Academy in We are at the heart of the cycle, two Rome, and numerous festivals, including Tanglewood, Marlboro, and numbers touching upon the gospel Aspen. He received degrees from Harvard and Princeton before joining and blues traditions. Here the piano the faculty of MIT. He is Acting Artistic Director of Emmanuel Music offers increasingly fervent glosses on (Boston), co-Artistic Director of the Token Creek Chamber Music the tune. The accompanists are not Festival, and President of the Copland Fund. drawn in, but cast a reverent shadow.

Regarding Songs America Loves to Sing, the composer writes: Canon: St. Louis Blues The most elaborate of the canons, actually a double inversion canon It is a distant, quaint vision: the family around the piano singing famil- over a free bass, with certain elements treated as “thickened lines” (a iar songs, a Currier and Ives print, an album of sepia photographs. But fine descriptive jazz theory term). I remember it well (or did I imagine it?). The album which our family sometimes used may have been called Songs America Loves to Sing. The Solo: Poor Butterfly present collection of solos and canons on some of these still familiar The pristine melody is first presented as a cadenza, filtering though melodies is dedicated to my sister Meg (of five singers, now only two only if the listener remembers it well. Then, as a reminder, it is played left). simply by the accompanists, while the soloist continues an embroidery derived from the tune. Solo: Amazing Grace In 1972 I made a virtuoso set of variations for solo oboe on this tune. Canon: We Shall Overcome This simpler version is an exploration of the overtones of the primary We enter a political sequence here, two songs that never lose currency. chord. The accompanying strings offer a foretaste of the canonic prin- The early music vocabulary for “We Shall Overcome” says that the goals ciple, framing the soloist with slower versions of “Amazing Grace.” it furthered have not been achieved. The contentious diminution canons suggest that social struggles and disjunction continue, in- Canon: Careless Love evitably. The melody is presented as a ghostly backdrop in the accompanying piano. A series of pensive octave canons serve to introduce the ensem- Solo: Ain’t Goin’ to Study War No More ble, in pairs, to the listener. I know no sturdier expression of the hope for peace than this spiritual. In the setting an undercurrent of unease is present in the fanfares heard Solo: Will the Circle be Unbroken? during the second stanza. As the accompanists join the soloist in a col- The song has a visionary presence, and suggests very little harmonic lective jam session, the conflicts recede. (A parallel version of the piece change, a fact emphasized by the obsessive piano signal. The solo be- was my contribution the Albany Symphony Spiritual Project.) gins rhapsodically, then is pulled into the pulse. Canon: Anniversary Song Regarding his piece, the composer has provided the following com- In a photograph of her fifth birthday party my sister Helen sits in front mentary: of her cake, surrounded by her friends, in a perfect party dress, weeping Emerson Songs consists of three songs using poetry of Ralph Waldo inconsolably. From that image of her indelibly melancholic tempera- Emerson. The work lasts about 15 minutes. The first and last songs are ment comes the initial canon; birthdays can be daunting. At the end a settings of poetic fragments from the manuscript poems of 1840-49. more hopeful version of this tune, similar to a (perhaps) still copy- The text of the central song is one of Emerson’s most famous poems, righted melody, takes over. “The Snow-Storm,” first published in 1847. All three poems express aspects of the Transcendentalist movement we associate with Emerson Songs America Loves to Sing, for the so-called “Pierrot” combination, and his colleagues in mid-19th-century America. was commissioned jointly by the Atlanta Chamber Players, with fund- The first poem, Cloud upon cloud, in non-rhyming, mostly five-syl- ing from Cherry Logan Emerson, and the Da Capo Chamber Players, lable lines, is about hope and renewal. The world only seems to die. In with an award from the Barlow Endowment for Music Composition at the midst of desolation, “the darkness will glow, the solitude sing.” Brigham Young University. As in an earlier piece, Fourteen Fabled Folk- “The Snow-Storm,” written in blank verse and iambic pentameter, is songs (in which I invented all the tunes), the pattern is all-important — a celebration of art and the power of nature. The raging storm, which the key scheme, contrasts, pacing of the sequence — so pauses between forces us to huddle “around the radiant fireplace enclosed in a tumul- movements must be minimal. Paradoxically I would permit separate tuous privacy,” leaves piles of snow that make a “frolic architecture” for performance of any part of the music with very different purposes in us to admire and mimic: “white bastions with the projected roof,” and view. on top of it all “a tapering turret.” –John Harbison The final poem, I cannot find, three rhyming couplets each line (except the first) consisting of eight syllables, is a wistful and tender Emerson Songs David Froom expression of love. I use the ensemble of eight instruments as both a small orchestra David Froom was born in California in 1951. His music has been per- and a chamber group. The winds, strings, and piano are sometimes formed extensively throughout the United States by major orchestras, used like the wind, strings and percussion sections of an orchestra. In ensembles, and soloists, as well as in performance in England, France, other places the instruments are used soloistically or in small, continu- Germany, Austria, Italy, Holland, Cyprus, China, and Australia. His ally evolving groups of two, three, or four players. The three songs, music is available on CD on the Bridge, New Dimensions, Delos, though distinct in character, are unified by their musical material, Arabesque, Capriccio, Centaur, Sonora, Crystal, Opus 3, and West Point which comes about through continuous variation of the first song’s Academy labels. opening gestures. Among the many organizations from which he has received recog- Emerson Songs, completed in the spring of 1996, was commissioned nition are the American Academy of Arts and Letters; the Guggenheim, by the Serge Koussevitzky Music Foundation in the Library of Congress Fromm, Koussevitzky, and Barlow Foundations; the Kennedy Center for the group Currents. (first prize in the Friedheim Awards); the National Endowment for the –David Froom Arts; The Music Teachers National Association (MTNA-Shepherd Dis- tinguished Composer for 2006); and the state of Maryland (four Indi- vidual Artist Awards). He had a Fulbright grant for study at Cambridge University, and fellowships to the Tanglewood Music Festival, the Wellesley Composers Conference, and the MacDowell Colony. Since 1989, Mr. Froom has been on the faculty of St. Mary’s College of Mary- land, where he is professor and chair of the music department. EMERSON SONGS Leaves, when the sun appears, astonished Art To mimic in slow structures, stone by stone, Cloud upon cloud Build in an age, the mad wind’s night-work, The frolic architecture of the snow. Cloud upon cloud The World is a seeming, I cannot find Feigns dying, but dies not. Corpses rise ruddy, I cannot find a place so lonely Follow their funerals. To harbour thee & me only Seest thou not brother I cannot find a nook so deep Drops hate detachment, So sheltered may suffice to keep And atoms disorder, The ever glowing festival How they run into plants, When thou & I to each are all. And grow into beauties. The darkness will glow, [The first and last poems are from Manuscript Poems (1840-1849). “The Snow- The solitude sing. Storm” is from Poems (1847). All can be found in Ralph Waldo Emerson: Collected Poems and Translations, ed. Harold Bloom and Paul Kane (The Library of America).] The Snow-Storm Announced by the trumpets of the sky, A Whitman Sampler Arrives the snow, and, driving o’er the fields, Or Like a…an Engine Joan Tower Seems nowhere to alight; the whited air Hides hills and woods, the river and the heaven, Joan Tower’s music is noted by a number of defining qualities: driving And veils the farm-house at the garden’s end. rhythms and colorful orchestrations influenced by the sounds and sen- The sled and traveler stopped, the courtier’s feet sations of a childhood spent in South America; approachability for Delayed, all friends shut out, the housemates sit listeners and players alike, resulting from her engagement with the per- Around the radiant fireplace, enclosed formers of her music (often written with specific musicians in mind) In a tumultuous privacy of storm. and her own performances as a pianist. Early works were serial in con- ception. In the 1970s she moved toward more tonal, Messiaen-like Come see the north wind’s masonry. Out of an unseen quarry evermore sonorities. She has written a number of works paying homage to com- Furnished with tile, the fierce artificer posers such as Beethoven (Concerto for Piano), Stravinsky (Petroush- Curves his white bastions with projected roof skates), and Copland (Fanfare for the Uncommon Woman). She was the Round every windward stake, or tree, or door. first composer chosen for a Ford Made in America consortium com- Speeding, the myriad-handed, his wild work mission, Made in America. Its top-selling recording won three 2008 So fanciful, so savage, nought cares he Grammy awards, including Best Classical Contemporary Composition. For number or proportion. Mockingly, “Or Like a…an Engine” (1994) is dedicated to the pianist Ursula On coop or kennel he hangs Parian wreaths; Oppens who premiered it at Alice Tully Hall in New York City in cele- A swan-like form invests the hidden thorn; bration of the 50th Anniversary of the radio station WNYC FM, which Fills up the farmer’s land from wall to wall, commissioned the work. It is a motoric piece, somewhat like a virtu- Maugre the farmer’s sighs; and at the gate, osic Chopin etude. A tapering turret overtops the work. And when his hours are numbered, and the world Is all his own, retiring, as he were not, Love Song of a Waterfall Slim Whitman early 1870s. The poem was first published in a December 1873 issue of the Smith County Pioneer under the title “Oh, Give Me a Home Where Slim Whitman (born January 20, 1924 in Tampa, Florida) is an Ameri- the Buffalo Roam.” The music was written by a friend of Higley’s can country music singer and songwriter. named Daniel Kelley. The song was adopted by settlers, cowboys, and Self-taught on the guitar, Otis Whitman worked at a shipyard in others and spread across the USA in various forms. During the early Tampa while developing a musical career, eventually performing with a 20th century, it was arranged by Texas composer David Guion who is band known as the “Variety Rhythm Boys.” Whitman’s first big break often credited as the composer. It was officially adopted as the state came when agent Colonel Tom Parker heard him singing on the radio song of Kansas on June 20, 1947, and is commonly regarded as the and offered to represent him. Signed with RCA Records, he was billed unofficial anthem of the American West. as the cowboy singer, “Slim Whitman” and released his first 45rpm sin- gle in 1948. He toured and sang at a variety of venues including on the William Brehm popular radio show, the Louisiana Hayride. As a teen-ager William K. Brehm led a big band and sang professionally He only became a full time musician in the early 1950s after he in a trio. He began composing for piano, voice, and chorus in the recorded a version of the Bob Nolan hit “Love Song of the Waterfall” 1950’s writing the music and lyrics. His published works appear in col- that made it into the country music Top 10 chart. His next single, “In- lections, choral octavos, and hymnals, both in the US and Germany. dian Love Call,” was even more successful, going to the No. 2 position He wrote two patriotic works arranged and performed, respectively, by (and actually saving the world in the 1996 movie Mars Attacks! where it the US Army Chorus and the Army Field Band and Soldiers’ Chorus. proves fatal to the invading Martians). A yodeler, Whitman avoided the His Inaugural Suite for Piano was written for the inauguration of “down on yer luck–buried in booze” songs, preferring instead to sing Dr. Richard Mouw, President of Fuller Theological Seminary. He has laid-back romantic melodies about simple life and love. written sacred lyrics for the world’s great operatic arias; eight have been In 1955, in the United Kingdom, he had a No. 1 hit on the pop published. (He changes only the lyrics, not the scores.) music charts with “Rose Marie.” With eleven weeks at the top of the A Michigan native, Brehm studied mathematics at the University of charts, the song set a record that lasted for thirty-six years. Soon after Michigan. His “other” life has included industry and public service, the recording this big hit Whitman was invited to join the Grand Ole Opry latter as a presidential appointee for five defense secretaries and three and in 1957, along with other musical stars, he appeared in the film presidents. Bill and his wife Dee reside in McLean; they have interests musical, Jamboree. Despite this type of exposure, he never achieved the in Type 1 diabetes research at the University of Michigan and in Wor- level of stardom in the United States that he did in Britain where he ship, Theology, & the Arts at Fuller Theological Seminary. had a number of hits during the 1950s and 60s. Throughout the early 1970s, he continued to record and was a guest on Wolfman Jack’s musi- cal television show, The Midnight Special. At the time, Whitman’s Wild Wild West Richard Markowitz recording efforts were yielding only minor hits and in 1974 he stopped making new records. The 1977 film Close Encounters of the Third Kind Arranged by David Froom features Whitman’s rendition of “Love Song of the Waterfall” playing in Richard Markowitz was born in Los Angeles, California on Sept. 3, the tollbooths as the cars speed through, chasing three alien spaceships. 1926; after graduating from Santa Monica High School he attended the Los Angeles Conservatory of Music. Markowitz studied music with My Western Home Daniel E. Kelley two maestros: Arthur Honegger and Arnold Schoenberg, and started his career as a jazzman. Mr. Markowitz composed many scores for cin- Arranged by William Brehm ema and television including Wild Seed, the television shows The Wild “Home on the Range” is the state song of Kansas. Dr. Brewster Higley Wild West, The Invaders, Mission:Impossible, Mannix and The Streets of originally wrote the words in a poem called “My Western Home” in the San Francisco. He died on December 6, 1994 in Santa Monica. This Land is Your Land Woody Guthrie Recently, Aguila was honored by the Recording Academy with two Arranged by William Brehm Latin Grammy nominations for his CD Salon Buenos Aires and for his composition Clocks. He also received the MTC Magnum Opus Award Woody Guthrie (1912 – 1967) was born in Okemah, Oklahoma. 2010, the Lancaster Symphony “Composer of the Year Award 2009,” the Guthrie was tired of the radio overplaying Irving Berlin’s “God Bless Peter S. Reed Foundation Award 2008, MTC Magnum Opus Award America” whose lyrics he thought were unrealistic and complacent. 2008, as well as awards by The Copland and Argosy Foundations Partly inspired by his experiences during a cross-country trip and his among others. He is a graduate of the San Francisco Conservatory of distaste for “God Bless America,” he wrote his most famous song “This Music with post-graduate studies at Vienna’s Hochschule für Musik Land Is Your Land,” in New York City in February 1940. The melody is and Vienna Konservatorium. adapted from an old gospel song, “Oh My Loving Brother.” His busy 2011 season includes performances at St. Martin in the Fields and Deutschen Oper Berlin and premieres by Nashville, Puerto Rico, Virginia, Buffalo. Memphis and Winnipeg symphonies among Clocks Miguel del Aguila others. Two-time Grammy nominated American composer Miguel del Aguila Clocks was written in 1998 for piano and string quartet. Its six was born 1957 in Montevideo, Uruguay. His prolific music output and movements are highly imagistic, portraying the tick-tocks, whirring distinctive musical style have placed him among the most highly re- gears and chimes of various clocks—many at once, but deliciously out garded composers of his generation. He came to the attention of of phase, in “Shelves Full of Clocks”; two of very different character in European audiences in 1983 when his Messages premiered at the poignant “Romance of the Swiss Clock and the Old Clock.” “Mid- Musikvereinsaal, the home of the Vienna Philharmonic Orchestra. night Strikes” with ominous low chimes, leading into “Old Clock’s Soon performances at Konzerthaus and Bösendorfer Hall followed, Story,” told movingly by the viola, with harmonic support by the piano, marking the beginning of an international career that spans over two over clock sounds on the other strings. decades. In 1987 Peermusic published his first works, eventually incor- porating most of Aguila’s works to their catalogue. American audiences embraced Aguila’s music in 1988 as he introduced his piano works at About the Artists New York’s Carnegie Recital Hall; and days later, Lukas Foss premiered ELISABETH ADKINS, violin, is Associate Concertmaster of the National Sym- his Hexen with the Brooklyn Philharmonic Orchestra. KKM-Austria phony Orchestra. She received her doctorate from Yale University, where she and Albany Records-NY took notice, releasing in 1989/’90 two CD’s studied with Oscar Shumsky. She is active as a recitalist, concerto soloist, and with five of his works. chamber musician. Recent appearances include concertos with the National Symphony, the Baltimore Symphony, the Dallas Symphony, and Eclipse In 2001 New York’s Chautauqua Festival invited him as Resident Chamber Orchestra, and recitals at the Kennedy Center, the National Gallery, Composer where he remained until 2004, contributing with new and the Phillips Collection. She was a founding member of the American works, performances and literary articles. In 2005 Aguila accepted a Chamber Players; her recordings with the group can be heard on Koch Inter- two-year Composer in Residence position with the New Mexico Sym- national Classics. The daughter of noted musicologists, she and her seven sib- phony Orchestra, through a Meet The Composer–Music Alive Award. lings comprise the Adkins String Ensemble, which presents a concert series in This marked the start of an intensively creative period that culminated Dallas and has recorded several CDs. Ms. Adkins is on the faculty of the Uni- with the fully staged premiere of his opera Time and Again Barelas, versity of Maryland School of Music. commemorating Albuquerque’s tricentennial. PAUL CIGAN, clarinet, began his musical education at the San Francisco Con- By 2008 first-rate orchestras, ensembles and soloists were regularly servatory of Music studying under David Breeden and David Neuman, both commissioning and performing his works worldwide. They included of the San Francisco Symphony. After transferring to Temple University, he re- almost fifty orchestras, over two hundred chamber ensembles and ceived a Bachelors degree under Anthony Gigliotti, former principal clar- inetist of the Philadelphia Orchestra. While in Philadelphia, Paul performed soloists in virtually every country in Asia, Europe and the Americas. with the Concerto Soloists Chamber Orchestra. He has performed as principal AARON GOLDMAN joined the National Symphony Orchestra as its Assistant clarinetist with the San Antonio Symphony, Colorado Symphony, Virginia Principal Flute in September 2006. Prior to joining the NSO, he held Principal Symphony, and the Sarasota Opera. Other orchestras he has performed with Flute positions with the Orlando Philharmonic and the Greater Lansing Sym- include the National Repertory Orchestra, New World Symphony, and the phony Orchestra. He has performed as guest principal with the Baltimore Spoletto Festival USA Orchestra. Mr. Cigan is currently second clarinetist of Symphony and has participated in the Arizona MusicFest, Central City Opera, the National Symphony Orchestra. He has performed as chamber musician Chautauqua Symphony, and Grant Park Music Festivals. An active performer, with members of the National Symphony and National Musical Arts, Theatre Mr. Goldman has been featured with the Virginia Chamber Orchestra, Eclipse Chamber Players and Eclipse Chamber Orchestra. Mr. Cigan is currently on Chamber Orchestra, Orlando Philharmonic, Chamber Orchestra of Florida, the faculty of The Catholic University of America, a returning coach for the and has performed Headliner Recitals at the National Flute Association’s an- National Orchestral Institute at the University of Maryland, and former mem- nual convention. Mr. Goldman participates in many educational programs ber of the clarinet faculty at the Peabody Institute of Music. with the NSO, including performances in the Family Theater, Terrace Theater, and in many District schools. He has given lectures at the Smithsonian Institu- LISA EMENHEISER, pianist, is regarded as one of Washington DC’s most re- tion such as “The Magical Flute” and “Math and Music: Closer than you think” spected performing artists. She has been performing with the National Sym- alongside NSO cellist Yvonne Caruthers. Mr. Goldman teaches at Catholic phony Orchestra for the past 20 years, and appears as both their Pops pianist University, through the NSO’s Youth Fellowship Program, and founded and and acting principal keyboardist. A graduate of the Juilliard School, conducts the DC Flute Choir through the Flute Society of Washington. A na- Ms. Emenheiser has performed in recital at Alice Tully Hall, Avery Fischer Hall, tive of Needham, Massachusetts, Mr. Goldman received his Bachelor of Music Carnegie Recital Hall and has appeared in many venues in DC, including the degree from the Eastman School of Music in Rochester, NY, where he studied National Gallery, Phillips Collection, Smithsonian Institutian, and the Kennedy flute with Bonita Boyd and piccolo with Anne Harrow. Center. As described by the New York Times, Lisa “played the piano dazzlingly,” and by The Washington Post, she “shimmered and beguiled, shifting easily be- SUE HEINEMAN has been Principal Bassoonist of the National Symphony Or- tween virtuosity and transparency.” Ms. Emenheiser has appeared as soloist chestra since September 2000. Prior to joining the NSO, she held positions with the National Symphony Orchestra, the Baltimore Symphony Orchestra, with the New Haven, Memphis, New Mexico, and New Zealand Symphony the Richmond Symphony, the Kennedy Center Opera House Orchestra, the Orchestras. Ms. Heineman has performed as guest Principal Bassoonist of the Virginia Chamber Orchestra, the Fairfax Symphony, the McLean Orchestra, Los Angeles Philharmonic and is a frequent soloist at conferences of the Inter- and was one of the featured piano soloists at the Kennedy Center’s Piano 2000 national Double Reed Society. A former member of the Aspen Wind Quintet, Festival. She was also a soloist for the Kennedy Center’s “Journey to America” she has performed with the American Chamber Players, Chamber Music Soci- Festival, and the NSO’s Composer Portrait: Mozart. Most recently, Lisa per- ety of Lincoln Center, and Santa Fe Chamber Music Festival. As a student she formed as soloist at Wolf Trap with the National Symphony Orchestra, pre- participated in festivals at Tanglewood, Banff, National Repertory Orchestra, miering Tan Dun’s “Banquet” Concerto. An established chamber musician, Ms. and Los Angeles Philharmonic Institute. Originally from Philadelphia, Ms. Emenheiser has performed across the United States, as well as many interna- Heineman holds a Bachelor of Music degree from Eastman and a master’s de- tional venues, including performances with some of the world’s most gree from Juilliard. She also completed a Bachelor of Arts degree at the Uni- renowned artists. She is also an avid performer of contemporary music, and is versity of Rochester, graduating summa cum laude with Phi Beta Kappa pianist for the 21st Century Consort and Opus 3 Trio. Ms. Emenheiser has honors, and was the recipient of a Fulbright Scholarship to Salzburg. Her recorded for the Pro Arte, VAI Audio, Centaur, Arabesque, Delos, AUR, and teachers include Shirley Curtiss, David Van Hoesen, Milan Turkovic, Judith Cascades labels. Lisa has appeared on national television as an expert artist LeClair, and Stephen Maxym. A frequent guest clinician at conservatories and commentator and performer in the PBS documentary entitled “Exploring Your festivals throughout the US and Canada, Ms. Heineman is on the faculty of Brain.” A committed teacher, Lisa holds a private studio in her home. the University of Maryland School of Music. ABIGAIL EVANS, viola, began playing with the National Symphony Orchestra in CHRISTOPHER KENDALL, conductor, has been Dean of the University of January of 2005. She was appointed Assistant Principal Viola in May of 2006. Michigan School of Music, Theatre & Dance since 2005, following nine years Before coming to Washington, she spent four months in the viola section of as Director of the University of Maryland School of Music. At Michigan, he the Los Angeles Philharmonic. She attended the Cleveland Institute of Music led the celebration of the School’s 125th anniversary and a change of the where she was a student of Jeffrey Irvine and Lynne Ramsey. In addition to school’s name to embrace all the performing arts disciplines. He has initiated performing with the NSO, Abigail enjoys playing chamber music, and is a “Arts Engine,” an interdisciplinary project involving the arts and engineering, member of the Manchester String Quartet. She plays a viola made by Hiroshi which sponsored a May 2011 national meeting of 50 of the leading U.S. aca- Iizuka in 1993. demic institutions on the role of the arts at the research university. Also in May, he accompanied the U-M Symphony Band on its tour of China. Prior to Arts where she is currently a resident artist. She will also premiere a new cham- 1996, he was Associate Conductor of the Seattle Symphony (1987-1993) be- ber work by composer David Froom with the 21st Century Consort this win- fore taking the position of Director of the Music Division and Tanglewood ter. Last season Ms. Vote “started off with a bang” creating the role of Hester Institute of the Boston University School for the Arts. He is also founder and Prynne in the world premiere of Margaret Garwood’s The Scarlet Letter. She lutenist of the Folger Consort, early music ensemble-in-residence at the Folger then joined the Opera Company of Philadelphia for Romeo and Juliet, followed Shakespeare Library, with whom he has performed, toured and recorded since by critically acclaimed performances as Cherubino at Annapolis Opera. Other 1977. He has guest conducted widely throughout the U.S. in repertoire from recent notable roles include: Adalgisa in Norma, Giovanna Seymour in Anna the 18th to the 21st century, and his performances as conductor and lutenist Bolena, Meg in Falstaff, Judith in Bluebeard’s Castle and the title roles in Dido can be heard in recording on the Bridge, ASV, Centaur, Bard, Delos, and Aeneas and La Tragedie de Carmen. An eager concert artist, Ms Vote has CRI, Nonesuch, and Smithsonian Collection labels. recently performed her first Verdi’s Reqiuem and Mahler’s Lieder eines fahren- den Gesellen, both at the Alba Music Festival in Italy. At the St. Mary’s River JANE BOWYER STEWART, violin, has been a first violinist with the National Concert Series in Maryland she sang lauded portrayals of Mahler’s Das Lied Symphony since 1981. She earned both her Bachelor of Arts (summa cum von der Erde and Ravel’s Sheherazade. As a recitalist she has enjoyed collaborat- laude, Phi Beta Kappa) and Master of Music degrees from Yale University. A ing with renowned pianist Brian Ganz, and together they have been praised for devoted chamber musician, Ms. Stewart has performed frequently at the Ter- their “captivating” interpretations of Schumann’s Fraunliebe und Leben and race Theater, the Phillips Collection, the Corcoran Gallery, the World Bank, Wolf’s Mignon Lieder, amongst others, and are planning an upcoming recital and the Library of Congress. She has been a member of the Chamber Soloists for this summer. Ms. Vote has been a New England regional finalist in the Met- of Washington, the U.S. Holocaust Memorial Museum Chamber Ensemble, ropolitan Opera National Council auditions and was awarded the distin- and the Manchester String Quartet. A regular guest artist with the 21st Century guished Phyllis Curtin Career Award. She received a Bachelors of Music from Consort, she is currently a member of the Eclipse Chamber Orchestra and the North Carolina School of the Arts and a Masters from Yale University. Kennedy String Quartet. In addition, she coaches chamber music, teaches classes on audition preparation, and gives pre-concert lectures. The Key Re- RACHEL YOUNG, a National Symphony cellist since 1998, brings a deep and di- porter published her 2001 article describing life as a professional musician with verse musical background to her work, ranging from an avid engagement in a liberal arts background. Outside of Washington, she participates in the Grand chamber music to teaching cello and recording film scores and bluegrass al- Teton Music Festival and has performed at the Honolulu Academy of Arts with bums. She is a member of the Kari Quartet, the 21st Century Consort and the Joseph Silverstein. Her several chamber music CDs include one Grammy nom- cello quartet 4in Correspondence. Prior to joining the Symphony, Ms. Young inee. As a concerto soloist, Ms. Stewart has appeared with the National Sym- was principal cellist of the Kennedy Center Opera House Orchestra. She has phony, the New Jersey Symphony, and the Eclipse Chamber Orchestra. Her performed with many groups, including the Smithsonian Chamber Players, violin is made by the Venetian master Matteo Goffriller and dates from 1691. the National Musical Arts Society, the Embassy Series, the Washington Music Ensemble, and the Contemporary Music Forum. She has appeared on WGMS NICHOLAS STOVALL is Principal Oboe of the National Symphony Orchestra. and WGBH radio broadcasts, at the Garth Newel Music Center, the John F. Prior to joining the orchestra, he performed frequently as a substitute with the Kennedy Center and at the White House. Ms. Young has enjoyed solo appear- Metropolitan Opera Orchestra, the American Symphony Orchestra, and as ances with the National Philharmonic, the Peabody Symphony Orchestra, the guest principal oboe with The Florida Orchestra. He has also appeared as New England Conservatory Chamber Orchestra, and the National Symphony soloist with the Juilliard Orchestra in works of Strauss and Haydn. Mr. Stovall Orchestra’s Summer Music Institute as well as a collaborative performance has spent summers at the Tanglewood Music Center, Spoleto Festival USA, with the Paul Taylor Dance Company. Her discography includes perform- National Repertory Orchestra, Round Top Festival-Institute, and Eastern ances with the 21st Century Consort and the Smithsonian Chamber Players. Music Festival. Born in Austin, Texas, Stovall holds degrees from the Cleveland Ms. Young was born and raised in Washington, D.C. She began studying Institute of Music and The Juilliard School, where he received the William music at the age of 4, and quickly knew she wanted to become a cellist. In high Schuman Prize for Outstanding Leadership and Achievement. His teachers in- school, she was exposed to the contemporary cello repertoire and loved it. clude John Mack, Elaine Douvas, Nathan Hughes, and Rebecca Henderson. She went on to play with the Contemporary Music Ensemble at the Peabody OLIVIA VOTE, Mezzo-Soprano, has been acclaimed for her “theatrical magnet- Institute and found the challenge and discovery of performing contemporary ism and steely vocal technique…,” “a striking expressiveness and sensitivity to music incredibly rewarding. She earned a Bachelor of Music degree from the her character” and “a voice to pay attention to…” In the upcoming 2011- 2012 New England Conservatory of Music, where she studied with Laurence Lesser, season Ms. Vote looks forward to performing Giulietta in Les Contes d’Hoff- and her Master’s degree in cello performance with Stephen Kates at the mann and Cuniza in Verdi’s first opera Oberto, both with the Academy of Vocal Peabody Conservatory. She was a Fellow at the Tanglewood Music Center and attended the Britten-Pears School for Advanced Musical Studies in England where she studied with William Pleeth. Young now teaches a small studio of cellists and serves on the board of the Kindler Cello Society.

21st Century Consort 21stcenturyconsort.org Board of Directors Michael Hamilton, President Robert Schwartz, Vice President Alyce Rideout, Treasurer Dennis Deloria Ex officio David Froom Christopher Kendall Winslow (Win) Hayward Boyd Sarratt, Manager Jessica Krash Jeanne Krohn Andy Molchon Janice Molchon Vivienne Patton John Simson William Taylor

The 21st Century Consort gratefully acknowledges the generous support of the Friends of the 21st Century Consort:

Elizabeth Adkins & Mary Frances Hardison Eric & Nancy Neff Ed Newman Maija Hay Hugh O’Neill Thomas Anastasio & Winslow & Francine Victoria J. O’Reilly Virginia Jenkins Hayward Geraldine Ostrove Therese Arcole Courtney Howland & Vivienne Patton Beatrice Bobotek David Singer Hunt Prothro David Bragunier & Christopher Kendall & Alyce Rideout Sara Stern Susan Schilperoort Lisa Emenheiser Sarratt Dennis Deloria & John D. Kendall Robert & Carol Schwartz Suzanne Thouvenelle Jessica Krash Lucy Shelton John & Donna Donaldson Jeanne Krohn & Bob Wade Diane G. Smart Kenneth & Pauline Willard & Carolyn Larkin Molly & Louis Stern Emenheiser Harald & Nancy Leuba William Wesley Taylor David Froom Alan R. & Nancy S. Mandel Laura Willumsen Anna Glodek Dorothy Marschak Wendel H. Yale & Gloria Shaw Hamilton Janice & Andrew Molchon Louise Seirmarco J. Michael Hamilton & Frederick I. Mopsik & Compiled October 2011 Myung Hee Nam Judith Mopsik